Edgar Varese - Ionisation
Brief Biography of the Composer Edgar Varese
Born: December 22, 1883 in Paris, France
Died: November 6, 1965 in New York, America
From an early age Edgar Varese showed an interest in music but his father preferred the idea of Varese leading a more normal life sending him to school in Paris where he studied mathematics and science in the aims of becoming an engineer. Meeting Roussel and D'Indy however changed Varese's attention more to music, composing several pieces in both Paris and Berlin.
In 1915 Varese moved to America where he became a citizen, America would also offer Varese a platform from which to present his music. As a composer Varese sought new sounds and new ways in which to present these sounds. He was fortunate enough to be in a country that was still finding its musical identity, unlike his native Europe that was still drawn to tradition, with only a handful of composers bold enough to venture into un-chartered territory. It was at this stage in his life that Varese's early teaching and admirers became an advantage, for it was their knowledge and encouragement that now gave Varese the courage to bring his ideas to the public.
The first of Edgar Varese's new works to be played was in 1921 when Carlos Salzedo the founder of International Composers Guild played Amériques in its entirety, continuing the performances by introducing the public to Hyperprism (1923), Octandre (1923) and Intégrales (1925).
Varese was very particular in which works were presented. In his earlier years Varese had wrote compositions for opera and orchestra whilst living in Europe, taking one of these Bourgogne (1908) with him when leaving for America; however as with all of Varese's early works he subsequently destroyed it.
Hyperprism also showed the new methods of Varese by bringing new instruments to the ageing line up that was the orchestra. Sleigh bells, Indian drums and tam-tam's were but a few of the instruments used in this exciting new line up. The excitement however did not pan on to audience, reports of riots from some members of the audience (something that had not been heard of since Stravinsky's first playing in 1913 of Sacre du Printemps (Rite of Spring) or as the critics called it Massacre du Printemps (Massacre of Spring) a piece that saw opera move into new era), to those that asked for it to be played again.
Maybe this was the reason Varese put so much effort into one of his most remembered pieces Ionisation, wanting the audience and his fellow composers to truly understand his intentions and methods of organised sound. Using a similar line up to the Hyperprism, Varese also introduced two sirens to the orchestra's arsenal of sound. The piece also took music theory into places that even at times the composer could have only imagined could be the results of his unique scoring.
Ionisation attempted to break this pattern of thought by moulding the overall sound with the use of only percussion, producing a whole sound unique to its scoring and unmatchable by any one single instruments timbre alone. Unaware of the implication, Varese's approach would also give him an upper hand on other composers as electronic musical instruments slowly began to emerge.
Varese's desire to hunt down and use the electronics of his day, may also go some way to explaining why (even though in America) he did not use the Telharmonium (or as Busoni a teacher of Varese's called it Dynamophone) as it was nothing more than an extension of tonality (something he wished to break away from). Varese was also an admirer of the Russian radio engineer Léon Théremina and used his instrument the Theremin which was capable of oscillating between tones in a controlled pitch movement, performed by the user. It's therefore a shame that Varese's collaborations with Léon Théremina were brought to an end when Varese moved from New York to San Francisco. History has shown that Varese did try to continue this collaboration upon his return to New York in 1941, however the Theremin designer was no longer in New York. Evidence supporting this was found in a letter meant for Léon Théremina whom unfortunately did not read the letter until 1989 when musicologist Olivia Mattis presented it to him in an interview.
Some of these ideas and the use of the sirens may well have come from Varese's time in the French army during WWI and his interactions with fellow thinkers such as Luigi Russolo and Satie. How was a composer meant to explain the evil sounds of war, when no melody was prepared for this task alone?
As Varese continued in his quest he was taken more and more seriously and found himself pioneering ideas that would all eventually blossom in his finest hour when Philips laboratories asked him to stage their pavilion at the Brussels world fair. Varese had in is own words waited for this moment all his life, and set about creating a display that would in hindsight be a sign of a genius at work. With over 425 speakers and the new instrument that was the tape recorder (Varese had previously used this in his 1954 in his piece Déserts which also included percussion and wind instruments) Varese defused the sound over all the speakers in a specially designed room that concentrated on all aspects of architecture. Coloured lights were also used in this ground breaking display of Poème électronique (1957-8).
Varese now in his late seventies did not retire after this project but continued to write, unfortunately his life was brought to a natural ending before he could complete his work Nocturnal which in respect was finished by a fellow composer and friend Chou Wen-Chung, Chou Wen-Chung's interests in Varese's work has also enabled him to perform and record to CD all of Varese's major works for future generations.
Edgar Varese Discography
Main works
- Ionisation
- Density 21.5
- Déserts
- Poeme Èlectronique
Orchestral & Electronic works (Complete surviving works)
- Jule verne's Martin Paz (first opera aged 11 years)
- Bourgogne, for large orchestra (1908)
- Gargantua, for large orchestra (1909) Unfinished
- Amériques (1918-22)
- Hyperprism (1923)
- Octandre for Flute, Winds & Brass (1923-24)
- Intégrales for 11 Winds & 4 Percussionists (1924-25)
- Arcana for Orchestra (1927)
- Ionisation for 13 Percussionists (1929-31)
- Ecuatorial (1933-34)
- Density 21.5 for solo flute (1936)
- Nocturnal (1961) Unfinished; completed by Chou Wen-Chung
- Déserts for 14 Winds, Piano, Percussion, and Taped Sounds (1950-54)
- Poeme Èlectronique (1957-58)
Edgar Varese - Ionisation Analysis
Introduction
On first listening Ionization gives the impression of a percussion piece that conveys sections within an underlining rhythmic pattern but at the same time slightly disjointed. In Varese we see a new type of composer, someone who invariably fought the grain, trying to adapt new directions into his work. Ionisation offers an excellent perspective on this seemingly diverse and at times radical way of working and thinking.
A new electrical insight
Varese is primarily a composer whose style is somewhat different in his approach to other composers of his time. This is displayed within his composition Ionisation that is written for thirteen players, each with their own unique system. Varese introduces his compositional approach within the first two bars of the score with the use of two bass drums proceeding one another. These are intended to mask the developing gong sound that is struck on the last of three strikes of the bass drum.
The bass drums timbre is placed in the lower half of the audible register. The gong moves slowly in the opposite direction as its decay gives a perception of rising, until its dynamic level fades with a wide reverberant feeling. This is because looking at the spectrum analysis
(image 1a, 2a) shows that even when the bass drum is at its highest dynamic level; its frequency response never exceeds 640 Hz, whereas the gong on the right shows a more middle range starting point. By the time it is finish it has exceeded the threshold of the bass drum reaching as high as 1.4 kHz. Watching this process in real time (images 1b, 2b), shows that the decay of the gong falls back into the frequency range of the bass drum, indicating that had the gong been hit simultaneously with the first or second bass drum, the gong's decay would not be heard. The gong's decay can also be seen to be smoothing the decay of the bass drum, while at the same time achieving a perception of pitch articulation.
Listening to the entire piece begins to suggest that some of the instruments have a thematic role to play. There is also the suggestion of repeating of parts. If in its entirety it shows signs of periodic repetition, it can be suggested that some degree of structural order is taking place explained as thus.
From the scores opening, a clear movement from a low starting frequency position to a reversed position is then contrasted by the introduction of a solo snare drum (tambor millitare). With this instrument a dramatic move on the frequency scale is heard. There is also a noticeable change in the overall velocity, being heard more forte than the high dynamic crescendo of the previous bars.
From bar nine the overall timbre is kept constant in rhythmic progression and velocity. Therefore the introduction of the 'lions roar' (string drum) can be seen in several ways, as either an ending to a section, or the starting of a new section. The score places the lions roar at the end of a bar, indicating that the drum is acting as an ending to the section rather than a start of a new section. Bar thirteen shows a sudden change in dynamic level, this change goes completely against the previous four bars, furthering the case for the string drum being the ending of section two.
Analysing the instruments used in this dynamic change shows a very characteristic scoring to that of the first three bars of section one, with both the gong and bass drum timbres working together in an almost identical scoring, however this time the emphasis is placed on the dynamic level (achieved with the scoring of extra notes). These are also complemented by another of the main thematic parts, being that of the siren. Looking at the whole score the introduction of the siren is seen numerous times suggesting that it has a main thematic part to play. This is also true for the tambour militaire.
When for the first time the sleigh bells are heard at bar eighteen, a clear trading or complementing of timbre takes place between the castanets and snare. These also take on a degree of Verticalization with both the tambourine and the sleigh bells, sharing near identical parts. The sleigh bells however are given less noted parts to play. Viewing the score seems to indicate that the tambourine is the leading/dominate part. However the alternative view seems more plausible, that the tambourine is acting as part of a synthetic decay to the sleigh bells. The exchange is brought to an end at bar eighteen, with a quartet of notes given to the tambour militaire, scored on the final beat of the bar. This notation is not that dissimilar to the end of bar eight, only this time marked with mf rather than p. Also in this section bars twenty-one and twenty-two are not dissimilar to bars ten and eleven.
With an established view that bar eight was the last bar of the first section, it could be presumed that the tambour militaire was signaling an ending of another section, as the following bars show very little resemblance in timbre to the second section, other than the first two bars. However it must not be disregarded that the two bars that proceed may actually be a separate section.
Establishing at this point that the piece is divided up into sections it seems appropriate to give individual names for these sections derived from their sound content and notation. This is not melodic music; it is also scored for only percussion instruments (with the exception to the pianos that will be covered later), eliminating harmony. What is seen is a score that is concerned with not only individual instruments, but also the overall timbre qualities produced by the use of one or more of these instruments, suggesting within music a texture that is created through the use of many or individual sounds. The style of notation throughout also suggests that a horizontal structure is in place this is further complemented by sounds that are perceived to evolve from one another in a germinal fashion; the first three bars analyzed have already shown this. So it seems acceptable to label each of the sections as textures. With this established it may also now be considered that Texture III is a juxtaposing of Texture I and Texture II, as well as having its own individual aspect. As will be the case for the rest of the score, the need for renaming or the creating of new textures is needed when new elements are added to previous textures.
The logic in bars twenty one and twenty twos scoring is heard when at bar twenty three begins a dramatic change that adds slur to the feel of overall timbre. Musically there is linear elaborations taking place, however as none of the instruments used are of the tonal nature, the individual instruments must perform these actions by use of their frequency position. Between bars twenty-three and twenty-seven the first elaborations take place with guiro, bongos, maracas, castanets, tarole and tambour militaire creating the sense of pitch movement. The sleigh bells and the tambourine in this texture offer a sustaining of the timbre, whilst the elaborations take place. The ending of the first elaboration also gives a clear indication to the motives of the texture as the three wood blocks are played simultaneously from high to low, bar twenty eight sees the beginning of the second part of the elaborations. The score gives less noted parts to the instruments that are used in the first part of the elaborations, allowing now for the gong and tam-tams to trade places with the sleigh bells and tambourine to become the sustaining element of the texture. The sustaining of the texture is paramount to the deception of elaborations taking place, without its inclusion there would be gaps that in non pitched instruments would cause momentary parts of silence. In percussion music this would be perceived by the listener as rhythmic breaks.
As the second of the elaborations begins a swapping of parts between the bongos and bass drum moves the overall pitch up, avoiding any timbre clashes by reducing the note count on the tambour militaire. The exchange between the tambour militaire and side drum in bar twenty-two is explored further in the second part of the elaborations, repeating bars twenty-three and twenty four but with a reduced note count. The guiro is also scored in this way however in the second part of the elaboration the guiro shares the role of sustaining the texture with both the tam-tams and gong. The gong is not used in the first part due to the inclusion of the bass drum, its removal at the start of the second part of the elaborations allows the gong to become a sustain element. The return of the bass drum sees both the gong and tam-tams removed to allow the inclusion of the high siren, also reintroducing the guiro as the sustain part to the texture. For the first time the high siren is used without the second siren, indicating that timbre positioning is playing an important part in the composer's thinking. The inclusion of the second low siren would have invariably coloured parts played by the two bass drums. The removal of the bass drum therefore indicates that the composer is not only concerned with the overall timbre but also the structural order of the piece, organizing sounds rather than just the repeating of parts (full or reduced) Preparations for the next texture is scored in bars thirty-six and thirty-seven with the two bass drums and side drum performing in tandem, creating what could be described as a chord within percussion. This may explain the inclusion of the siren as it continues the movement needed for elaborations to continue.
Bar thirty-eight sees the start of the new texture with the concept of elaborations being removed in place of verticalization of parts, scored in triplet of notes. These are placed in a three, two, one pattern over a period of three bars. This produces a dramatic change in the dynamic level causing bursts of colour to emerge as the instruments play simultaneously. The result could be considered as an attempt to create chords within percussion music. As most of the instruments used have little sustaining qualities Varese's decision to use triplets of notes could have been to ensure the change was sudden enough not to be perceived as rhythmic break points.
The black and blue lines in example 3 highlight the first three chords of the texture. To achieve the perception of moving from one tone to another, Varese has used the high bongos and wood block's on the first note of the triplets (highlighted black) alternating to the low bongos and woodblocks on the second scored notes (highlighted blue) the third chord is a repeat of the first chord with the exception to the bongos high and wood block high being removed. The tarole drum plays the role of sustaining element to the texture, this motif is a repeating of the pattern that is used in Texture III at bars eighteen and nineteen, this pattern is also distributed within this texture between the tambour militaire (playing the first four notes) and the tarole drum. The cymbals of player ten is also a repeated pattern from Texture III that was originally scored for the sleigh bells. Although not the same instruments what this shows is Varese inserting rhythmic elements from Texture III into the Verticalization Texture whilst being aware of the frequency position of the sound. Using the originally scored sleigh bells in this texture may well have given the impression that a sustaining element had been introduced. With Varese already using a high count of metallic instruments this sound may have been drowned out by the other metallic sounds (cymbal tambourine and cowbell) had it took the role of sustaining. Although within the Verticalization texture bar forty-three gives the perception of a return to elaborations. The wooden blocks are played once on each of the three blocks creating a feeling of melody, changing back at the next bar to the Verticalization of the distributed notes, this time scored in groups of quadruplets rather than the use of triplets that start this texture. With the increase in notes Varese has effectively doubled some of the perceived chords whilst at the same time removing the cowbells which now plays its own separate chord. The result of this notation gives the impression that an arpeggio is taking place. A change in the sustaining instruments also takes place at this bar with the tarole now joining in as part of the arpeggio while the string drum and tambourine take on its role. The cymbal of player ten could also be seen as part of the sustaining of the timbre, playing a single note at the start of each of the following four bars, however it clearly returns to the role of Verticalization at bar forty-eight. The sudden change in instruments used at bar fifty-one suggests that the Verticalization texture has ended.
Bars fifty-one to fifty-five show clear similarities to the opening texture with the exception of the anvils being present indicating a new texture. The anvils are also scored in such a way that if all the notes were played on only one anvil, an almost identical rhythmic pattern to that of bars eighteen and nineteen would be produced. Other than the exclusion of the two bass drums and the added parts to the triangle, the following texture is therefore nothing more than a reduced version of Texture I with broken and divided elements of Texture III giving a texture that can be labeled Texture I version II. Had Varese divided elements of Texture I amongst other instruments, the title Texture IV would have been needed.
Bar fifty-six reintroduces the motif scored for the tarole drum in Texture III, bar fifty-five however it has a quadruplet of notes that is normally scored for the tambour militaire, only this time they are assigned to the two snares of player nine (tarole, relaxed snare). This scoring could therefore signal an ending to the texture, if this is true then for the first time in the score one texture has merge with another texture, as the siren is continued until the end of bar fifty-six.
The next ten bars show all the sonority elements of Textures I version II and Texture III, the wood blocks and anvils are also scored in the same style as the Linear elaborations, suggesting that another section of elaborations has started. The overall timbre has also moved within this texture, with additional scoring to the metallic instruments (gong, tam-tams and anvils). As with all previous textures, this texture also includes a sustaining element to the overall timbre, in this case the role of sustain is given to the triangle and the guiro.
Example 4 shows how elaborations can be perceived to be taking place in this texture. The black line shows the effect of elaborations taking place over the different instruments while the red line indicates the sustaining instruments. The change from a middle range frequency of the sustaining instrument (Guiro) to a high frequency position is needed to enable the smooth transition between the different stages of the elaborations. Using the guiro throughout as the sustaining instrument would leave parts where the movement was too dramatic and may well lead to a feeling of rhythm and not that of elaborations. Therefore the different frequency positions of each of the instruments used allows the composer to move freely between different levels of the hearing register. When taking into considering that a C, an octave below middle C has a frequency of 130 Hz and a C, two octaves above middle C has a frequency of 1.46 kHz it seems plausible to consider that the instruments used in this percussion piece are acting in the same way, although in theory they have no fixed pitch.
Bar sixty-five suggests that the texture is coming to an end with elaborations between the instruments ending in favour of scoring in a vertical way. Bar sixty-sixty also suggests the beginning of a new texture as the overall timbre has now moved from a high metallic sound to a very low timbre. This timbre change is due to the extensive note count placed on all three bass drums (player 1 & player 3). Theses note are also placed in a vertical position, with the castanets and tambourine both being given almost identical parts. Bar sixty-seven gives the impression and scoring that suggest elaborations are taking place once more. However in the following bar returns an almost identical notation to that of bar sixty-six. One way of looking at this could be to consider that this is not a new texture and that Verticalization of textures is happening for one bar before returning to elaborations for another bar. An alternative view could be that this is a further texture related to elaborations.
Using example 5 the melody needed for elaborations (or the perception as this is percussion) is highlighted in black with the elaborations following immediately after. The highlighted orange circle shows a motif that has appeared many times in the composition (in this almost isolated part it seems to go against the other parts) in both its present form and in a fragmented way spread across several instruments. Musically this could be an episodic figure taking place with an elaboration of the pattern following immediately after (blue circle). This part could also been seen as a subject.
The highlighted green area is not only the ending to this texture but a preparation for the texture that follows. The darker green area shows the final of the elaborations taking place, until reaching the crescendo (light green area). At this point in the score, Varese has used a quaver rest; this is to compensate for the reverberation time of the instruments used in this final crescendo of elaborations. The same approach is also used in the final bar of this texture with the exception of the siren. The siren in this texture could also been seen in the same light as the perceived effect of the bass drum and gong (examples 1a, 1b, 2a, 2b) adding a pitch movement to the timbre as the texture finishes.
Bars seventy-five to ninety-one (the final bar) suggest not only a new texture but a texture that will bring the piece to an end. The introduction of this texture once again uses the sonority qualities of the metallic instruments of Texture I whilst using the rhythmic attributes of Texture II. Included for the first time is the use of two pianos (one grand, one free standing). The piano of player thirteen is unequally scored in such a way that it has required the composer to introduce unique markings. The most striking point about this scoring is where the composer has placed the notes. As the piano has a lot of harmonic qualities, it could be argued that this piece is not solely percussion. However the notes that are to be played are placed in the bass clef and go no higher than the middle C, they are also played with the forearm allowing the performer to hit simultaneously as many of the notes scored as possible. Had Varese used individual notes then harmony would have invariably filtered through. What the composer is actually aiming for is a perception of infinite pitch with the individual harmonics produced by the piano being muffled and interlaced with each other, eliminating any possibility of tonal relations being made. The scoring for the piano also brings the instrument into a new light whereas before it would only be considered for its harmonic qualities (melody and solo music). The other important addition to this texture is the use of the tubular chimes just as with piano any individual notes played could confuse the score, suggesting possible harmony or melody. As it is Varese has used the tubular chimes in conjunction with the sonority properties of the pianos, allowing for a constant sound to be created in the middle to low parts of the hearing register. The first use allows their own unique timbre to be heard over the other instruments, however their last inclusion after a bar rest (bar eight-nine) see vertical scoring. The reason for this is to prevent the short attacks of the chimes from being heard allowing its timbre to interlace with the piano, the result gives the impression of a cadence taking place. The piece ends from this point with a fermata adding the perception of fading to the ending.
Conclusion
Electronic manipulation techniques have become common place in the audio sequencer environment. However when Varese first began to score Ionisation such equipment had not even been conceived. This information tells us that Varese was a futurist, in music a futurist could be considered as someone who moves the art form forward in directions that are not always clear. Only when others move forward with these ideas and realize the potentials from such diverse working practices does it become apparent that someone was ahead of their time. In Varese's case even though he did not conceive the idea of using electronics in music he was without doubt an innovative character that used the skills common today to compose at a time when acoustic composition was not used.
No doubt Varese confused himself at times in a quest for what he called organized sound, taking his individual ideas and composing them in his way, no matter what anyone else thought. The result in this piece alone has produced a carefully crafted piece of sound. One could imagine Varese as an architect seeing all possible sounds/noise in a sculptural way, chipping away parts that are not needed until arriving at the sound required.
Edgar Varese Ionisation
An analytical section by section breakdown
Below are the separate parts that form the score to Edgar Varèse's percussion piece Ionisation. Ionisation can at first seem nothing more than a rhythm based instrumental piece for live percussion, however close analysis opens up much deeper rooted reasons for the instruments chosen as well as the parts each of these instruments plays. Ionisation therefore is a futuristic orchestration, crafted from the mind of an individual thinking as a modern composer.
- Texture 1
- Texture 2
- Texture 3
- Linear Elaborations
- Verticalization of Textures
- Texture I Version II
- Linear Elaborations Version II
- Culmination of Elaborations
- Conclusion
Edgar Varese - Ionisation - Texture I
First impressions:
A bass drum followed by a cymbal that repeats itself three times, is also accompanied by a siren sound. Another key instrument heard is a snare playing fast in the opening two bars and is also heard as part of the crescendo. The overall dynamic level moves from a quiet introduction to a loud ending where a crescendo of cymbals and gongs play an important part. This is followed by a different snare playing a quartet of notes.
Thematic instruments:
- Cymbal
- Siren
- Snare (low)
- Bass drum
- Sleigh bells
Structual thought:
From the start two bass drums of slightly different skin tension play one after the other followed by the use of a gong sound. The role of the gong is to act as synthetic articulation to the bass drum. The first bar also includes parts of the metallic instruments inventory, one of the main thematic pieces to Texture I. These also play an important part at bar seven where the crescendo of metallic instruments begins. Their removal at bar five is also important as it allows the reverberant qualities of the metallic instruments to diminish, making way for the bongos and maracas motives. Both sirens are used in this texture rising slowly in pitch before being removed at bar eight. At bar eight is the lions roar (string drum) it's intentions here could be to act as an effect to the sirens decay as it stops. A quartet of notes from the tambour militaire bring this texture to an end
Graphic example:
Frequency analysis:
Varese shows in the first Texture the importance of frequency positioning with scoring that avoids confliction. The black arrows indicate the first two parts played by the bass drum and gong. The white arrow shows third part of the bass drum, at this point the maracas and tambourine are also used. The similarities between the second black arrow and the white arrow indicate that if Varese had used the tambourine or maracas they would not have been heard clearly. The pink arrows show the crescendo taking place, this is further proof of Varese's understanding of each instruments sound development. The dark blue area of the frequency chart is not covered until the crescendo takes place, it could be feasible to suggest that other new instruments are used to cover this area; however this is not the case.
Arrow discription:
The gong is played just after the bass drum (Red arrow.) The third hit of the drum disguises the slow attack of the gong, giving the impression of a sound evolving musically from the bass drum.
The siren is noted to be played loud getting gradually quieter (pp>ppp) this drop in the dynamic loudness allows the crescendo of the upper register instruments to be heard as well as the sounds that sit in the same frequency positions as the siren.
The crescendo is formed by the tam-tam being introduced with the gong in virtualization techniques that also appear later within the piece. These are accompanied by the other two cymbals from players 9 and 10.
The suspended cymbal here sustain the register positions of both the gong and tam-tam, this can also be viewed as sustain of the tarole drum that plays in bar five, with the cymbals re-entering immediately after.
Edgar Varese - Ionisation - Texture II
First impressions:
As the texture begins there is a clear introduction of snare there is also a shaker of some description playing on the off beat, this is all brought to an ending by a sound acting as an effect.
Thematic instruments:
- Tambour Militaire
- The Lions roar (String drum)
- 2x Maracas (1 high, 1 low)
- 2x Bongos (1 high, 1 low)
Structual thought:
Texture I finished high in its timbre, this texture moves down the hearing registry to a more middle ranged frequency position. The transition from Texture I to Texture II also gives the listener the perception of pitch changing, ironically on non-pitched instruments. One of the main sounds to dominate this texture (and most of the other textures) is the tambour militaire , scored with a steady but changing pattern. Had Varese used a more dominant approach (for example Sixteen 1/16th note in a 4/4 pattern) he may have over shadowed all the other instruments. In normal percussion music this is used to add drive and energy into a composition. As these are not Varese's intentions we have to therefore presume that the tambour militaire is a main thematic part to this texture.
In the first bar there is a doubling of both the two bongos and the two maracas, both holding roughly the same register positions. The style in which the maracas are scored against the bongos suggests that using both simultaneously in this way, is attempting to increase their dynamic level, to such, that it is still clearly heard over tambour militaire. This could also be the reason why the sixteenth notes of the maracas are played when the snare is held in bar eight.
Graphic example:
Arrow discription:
A consistent rhythmic pattern is played by the bongos yet is never repeated in this texture.
A consistent pattern can be heard on the tambour militaire standing out as one of the main thematic parts to Texture II
The lions roar (String drum) brings the texture to an end, the use of this is important as it gives a clear sense of pitch rising in preparation for the next texture that is placed higher up the register in terms of the timbre.
The maracas during the first few bars play a part of colouring; however during bar three of this texture we see a clever swap in timbre frequency when the last beat in the bar on the snare is held with the maracas playing what seems to be the tambour militaire part.
In Texture I the cymbals had been a main part of the composition; the scoring of pp lowers the dynamic level enough to not overpower the bongos or snare, leaving it to act as colouring to the lower end of the frequency scale.
Edgar Varese - Ionisation - Texture III
First impressions:
The opening of this texture is almost identical to Texture I, before changing to a lower dynamic feel by using the tarole drum playing the part that was the tambour militaire role in Texture II. When the dynamic feel is increased, more instruments that were scored in Texture II are reintroduced, there is however also instruments that are not from Texture I or Texture II.
Thematic instruments:
- Bass drum
- Wood blocks (low, middle & high)
- Small snare drum (Tarole)
- Castanets, guiro and tambourine
- Siren
Structual thought:
In the first three bars is a return to the same structural format as in Texture I with more emphasis placed on the dynamics., The ending of this texture also has striking characteristics to Texture II. The tambour militaire in this texture actually contradicts the analysis of Texture I. It was assumed that the tambour militaire was an ending to Texture I. However as the tambour militaire is the first instrument heard on the upbeat and also directs the overall timbral decent from a high to low. It is likely that the tambour militaire was the beginning of the Texture II rather than an ending to Texture I. So Texture III is a juxtaposing of Texture I and Texture II with the second texture starting on the fourth beat of bar four.
Texture III also includes and removes individual elements that are important in developing the piece further. The siren from Texture I is removed as the elements of Texture II begin, and does not return until bar thirty-five. The reason for this is associated with the thematic role of the guiro, castanet and tambourine play. When the siren returns to the piece these instruments are removed or reduced dramatically.
The guiro, castanet and tambourine play what in harmony would be called a melody, they are also isolated from the other instruments to emphasis their role. Their inclusion now completes all the needed elements for the following texture linear elaborations.
Preparation for following texture:
Varese shows in the first Texture the importance of frequency positioning with scoring that avoids confliction. The black arrows indicate the first two parts played by the bass drum and gong. The white arrow shows third part of the bass drum, at this point the maracas and tambourine are also used. The similarities between the second black arrow and the white arrow indicate that if Varese had used the tambourine or maracas they would not have been heard clearly. The pink arrows show the crescendo taking place, this is further proof of Varese's understanding of each instruments sound development. The dark blue area of the frequency chart is not covered until the crescendo takes place, it could be feasible to suggest that other new instruments are used to cover this area; however this is not the case.
Graphic example:
Arrow discription:
The wood blocks could be placed in the same category as the guiro, castanet and tambourine; however they could also be part of a fermata, with the castanets performing the prolongation.
With the return of the bass drum we see an almost identical pattern to that in the first three bars of Texture I only this time more strikes of the drum are added. Varese has also marked this part with pp rather than p that is used in Texture I this prevents this instrument from overpowering any others
The sirens are placed at the start of the piece so as not to interfere with the perception of pitched melody that is scored for the guiro castanet and tambourine. As the siren has a continuous rising pitch and the other instruments mentioned are short in decay the result of mixing the two would start to create colour, as frequency positions invariably collide.
Part of Texture I although scored slightly different with the pp scored as opposed to the p. The reason behind this scoring may have been to prevent the dynamic change at bar nineteen being too dramatic
The sleigh bells play the same thematic role as the guiro, castanet and tambourine creating a perception of melody with percussion there may however also be signs of friendly scoring from Varese. Whenever the castanets are eliminated their reintroduction is helped by giving the tambourine a signaling note from which to start from.
Edgar Varese - Ionisation - Linear Elaborations
First impressions:
A very strong sense of rhythm dominates the whole of this texture with the tambour militaire being the most dominate of all. Although rhythmic in feeling it does suggest a more disjointed approach rather than a strict 4/4 rhythm. Periodically the crash cymbal or gong is heard clearly above the other instruments although any signs of these instruments are eliminated by the time the texture is three quarters of the way through.
Thematic instruments:
- Guiro
- Snare (tambour militaire, side drum)
- Bongos
- Tambourine
Structual thought:
Two bars open a familiar sounding timbre; the change that follows introduces articulation by using all three of the previous textures in a rhythmic change. The bongo's hold the key to this as it exchanges parts throughout the linear elaborations with the tambour militaire, helped further in the exchange by the maracas and wood blocks. Bar twenty six sees further evidence of elaborations taking place with the tarole rhythmically filling the space of the tambour militaire and bongos, with the tambour militaire now acting as a fermata.
Split into two definable elaborations the first is concluded with three wood blocks from high to low creating a cadence feeling.
The start of the second of the elaborations sees a trading once more of the tambour militaire and bongos only this time the side drum moves the perception of pitch down. This approach is also incorporated into the ending of this elaboration where the pitch is lowered further by the bass drum, at which point the tarole retakes the place of the tambour militaire. The gong and tam-tams are deliberately noted in a way that suggests that their roll in this texture is a further sustaining of the timbre, much in the same way as the tambourine and sleigh bells. However the gong and sleigh bells are removed at bar thirty-four in preparation for the virtualization of the textures that follows.
Preparation for following texture:
The following example demonstrates why Varèse needed to eliminate these instruments in preparation for the following texture.
Even when playing the final cymbal a bar before the ending of the texture the decay of the cymbal fall into what would be first of the virtualization of parts.
Graphic example:
Frequency analysis:
Using almost identical instruments to Varèse the spectrograph shows how each instrument sits on the frequency scale. When all the instruments come together at the point of virtualization the example attempts to create a chord in percussion, showing that none of the instruments timbres collide in respect to their frequency position.
Arrow discription:
Long decays are not ideal in the textures of elaborations therefore Varese has used a bass drum laid flat to ensure that the low bass is still available in elaboration process, but without the long decay that would be produced from player three's bass drum at this stage in the score.
The tarole plays an important part in bringing the sense of pitch of the elaborations lower, just enough to prepare the other instruments for the start of the second elaborations. It achieves this by taking the rhythmic parts of the bongos and the tambour militaire, while elaborating itself with a trading of notes from player nines snare drum.
Unlike the other parts to this section the sleigh bells and tambourine act as further sustain/colouring to the high end of the audible range, allowing the other elaborations (bongo's, castanets, tambour militaire, guiro and wood blocks) to be more disjointed. These also contribute to the perception of falling pitch at bar twenty-seven
The first two bars represent the start of the linear elaborations although they are arguably Texture II in a two bar move.
With three textures already developed the first two bars seem to suggest a much shortened version of Texture II. However as linear elaborations in harmony require a initial tune to elaborate from, here we see Varese use Texture II as the initial tune with bars twenty-three to twenty-seven being a mixture of three textures.
Throughout this texture Varese makes use of the instruments frequencies position emphasized in the fall from a high timbre to a lower timbre exchange in preparation for the virtualization that follows. The guiro and siren have now become the sustaining instruments with the bongos, side drum and maracas performing the linear elaborations. None of the high resonance metallic instruments are used in this section as their decay would overlap or overpower the gong and tam-tams that are introduced at bar thirty-eight. With bar thirty-eight being the start of virtualization it seems imperative that any decay from instruments is brought to an end before this bar. This may also explain the scoring of pp to ppp for the siren
Edgar Varese - Ionisation - Verticalization of Textures
First impressions:
A sudden increase in volume is heard as this section starts followed by what could be described as pots and pans being hit with no apparent pattern. At the introduction of this piece there is also a very military feel. Once more the bass drum also seems to be playing and is the only low sound we hear, as all the other parts are of the high sounding nature.
Thematic instruments:
- Tambour Militaire
- 2x Maracas (1 high, 1 low)
- Bass drum
- Tambourine
Structual thought:
For the first time a clear distinctive pattern cannot only be heard but also seen within the score. A chording of instruments takes place from the first beat of the first bar throughout until the conclusion of this section. The militaire snare is the only exception to this playing a main part by filling the middle section of the register, also being the only instrument that has any free will with the other instruments playing a more strict rhythm. The bass drum is also featured as a key element to the latter half of the texture being heard as it trades beats with the wood blocks, bongos and tambourine.
Throughout the piece there is also a use of register levels, to start the texture a full coloring of middle high sounds, accompanied by the middle section of the register, dominated by the snare,
The bass drum gives an impression of more bass than is actually being played. Looking at the score the single hits appear to be used when no other low sounds are in use, also entering when there is a low note count, making the reverberate qualities of the bass drum stand out. Had the bass drum been placed at a point where many notes were being played the reverb/sustain of the drum may well have been drowned out, as it is, it creates warmth at the lower end of the register.
Graphic example:
Arrow discription:
The bass drum plays an important part here, when it is introduced during the latter half of the piece we see that it is the only low tone sound present. Had Varese used the bongos at the same time as the bass drum it would have been inconsistent with the separation of register levels that can be heard in this texture.
The instruments used in this texture are placed in a vertical fashion in an attempt to create chords (normally associate with harmony) and tones. For this to be possible Varese would need to know approximately where in relation to their frequency position each instrument was. Playing two or more instruments of the same frequency position may change the timbral perception slightly, but is more likely to result in an increase in the dynamics.
The snare (a thematic part throughout) plays a type of call and response between the other instruments present; this could also be seen as colouring of the register and at the same time adding motion to the stricter patterns the other percussion parts are playing.
Wood blocks play in unison with maracas and tarole in the latter half of the texture What is most interesting about the blocks parts is how the lowest of the three blocks is not used when either of the other two mentioned instruments are playing, this suggests that had Varese used the lower blocks at the same time as maracas and tarole they would not have been heard. What does seem likely for the inclusion of low blocks is to add pre-emphasis on the up and coming bass drums that follow immediately after each appearance; however this and the other three played instruments could be merely continuing in the concept of the texture by being part of a created chording of timbre.
Edgar Varese - Ionisation - Texture I Version II
First impressions:
A return to the metallic sonority from Texture I is accompanied by the use of the anvils that play in the fashion of a melody. The siren is also dominate although noted louder than in Texture I. a similar approach is used to end the texture with a snare playing four beats in quick succession.
Thematic instruments:
- Siren
- Cymbals
- Anvils
- Tambour militaire
Structual thought:
The return of Texture I but this time the metallic instruments dominate throughout. Different also to Texture I is the scoring for anvils. The triangle also plays a dominate role for the first time. Instead of adding colour to the high end of the hearing register, it acts as part of the dynamic build up of the texture, at the same time complementing the anvils with what can be best described as a underlining of colour. Another main thematic part is the siren standing out more clearly than Texture I.
This texture is effectively half the size in bars from the first appearance of Texture I. Giving reason as to why the dynamic scoring brings the siren in more quickly; this could also be to compensate for the lack of a bass drum that is a key part to Texture I. The ending of this texture also incorporates the same thematic approach as Texture I and Texture III by using the tarole in a quick fashion, giving the statement that the texture has now finished or as explained earlier the next texture has just started.
Preparation for following texture:
The anvils become part of the linear elaborations that follow this texture. therefore the exclusion of the bass drum is important to prevent this section being confused as part of the linear elaborations, the gong, tam-tam and triangle occupying the high end of the register, and the anvils covering the middle section. The inclusion of the bass drum scored in the same way as Texture I would result in a texture that moves quickly up and down the frequency scale, not doing so has left a texture that has colouring but is also attempting melody with anvils.
Graphic example:
Arrow discription:
Again the return of the gong; however this time unlike the first appearance of this texture the bass drum is not present. As the other sounds in this section are higher than the bass drum the question may also arise as to why the bass drum was not used more. When considering its role in the first few bars, the reason for leaving the bass drum out may be because the siren is introduced with more volume and more emphasis than the first appearance of Texture I. An alternative view could be to prevent this section being confused with linear elaborations
The triangle in this version of Texture I is used to create a sense of dynamic increase as the crescendo builds from the start of this texture until its end.
By this point the siren is an established thematic part, very similar to the first appearance of this texture; however the scoring shows a more sudden arrival to the peak of the sirens dynamic range, indicated by the expressions pp to mf in the space of one bar. In the first bar this was spread over three bars.
For the first time in the score is the introduction of the Anvils is felt. Although not present in the first playing of this texture its role in this texture is to add a perception of melody, finally joining the other instruments used for linear elaborations in the texture that follows.
Edgar Varese - Ionisation - Linear Elaborations Version II
First impressions:
The most dominate sound heard throughout this piece is the snare; this is only overpowered by the siren that ends this sections with what is best described as a scream sound. The elaborations that took place in the first version of this texture are present with the exception of the tambourine being removed; the anvils are also a new addition to the elaborations.
Thematic instruments:
- Triangle
- Tarole
- Anvils
- Gong
- Siren
Structual thought:
Player 7's triangle and player 10's cymbal play a main part in sustaining the timbre, while the wood blocks perform a rhythmic pattern almost identical to bars twenty-three and twenty-four. As in the first version of this texture the role of the wood blocks stays the same, playing one of the parts to the elaborations. When there is no scoring for the wood blocks there role is taken on by the anvils. An almost identical part to bar twenty-six is also played by the tarole drum at bar fifty-six. The scoring of the tarole also adds a rattle Sonority to the texture. A consistent presence of the gong and tam-tam add timbral characteristics of the three main textures (Texture I, II & III). Unlike the first linear elaborations this version includes the siren adding pitch movement as the anvils give the impression of melody within percussion.
Graphic example:
Arrow discription:
The metallic sonority from Texture I dominate the higher ranges of the hearing register. Their inclusion is also fundamental in the perception of elaborations taking place.
The anvils are used as one of the main thematic elements to elaborations. Their short attack and short decay ensure that they are heard clearly over the other metallic instruments. The scoring suggests a fragmented version of the motif that is played on the tarole at bar fifty-six.
Playing a similar pattern to Texture II, the tambour militaire is scored to elaborate musically with the bongos, also joining the anvils in near identical scoring as the crescendo begins at bar sixty-two.
The inclusion of the motif on the tarole drum is beginning to suggest that it is one of two roles in the piece. Firstly it could be seen as a subject, as it has appeared several times and also been mimicked by other instruments. However the fugue that is normally associated with subjects does not seem to be present. Therefore it could be seen as an episodic figure (episode) as throughout it has joined parts, or been a digression from the main thematic parts.
Edgar Varese - Ionisation - Culmination of Elaborations
First impressions:
As the texture opens an extensive use of the bass drum is contrasted by sounds that are familiar to all the textures heard up to this point. The most obvious of these are the anvils from version two of Texture I. A decline in instruments used is heard as the tarole plays a short solo before being joined again by the anvils. The final sounds heard in this texture give the impression of an almighty roll or conclusion.
Thematic instruments:
- 3 x Bass drum
- Siren
- Tambour militaire
- Wood blocks
- Anvils
Structual thought:
The opening three bars are an accumulation of the elaborations that took part in the first three bars of Linear elaborations version I. Bar seventy-two is a repeating of the rhythmic pattern that appeared in Texture III and Linear elaborations I & II. As this part repeats itself it seems to be detached from the any other parts, it may therefore be considered as an episodic figure.
As the title suggests this is a coming together of all the elements of elaborations creating a climax to the elaborations; however when looking at bar seventy-three a scoring that was original part of the Verticalization of textures is used to end the texture.
Graphic example:
Arrow discription:
The castanets play a shared role with the anvils playing an arpeggio of the episodic figure played by the tarole drum at bar seventy-two. The castanets also take part in an effect with the cymbal of player nine. When the cymbals part has finished at bar seventy-two the castanets are scored in demisemiquaver, to be played soft to loud in very quick motion. Considering the cymbal has a long decay, this scoring suggests the shorts decay of the castanets is acting as an articulation between the cymbal and the two bass drums that follow in the next bar, in effect holding the elaborations together.
As explained this motif has a role of an episodic figure and can been seen through out the score in either its full form or in an arpeggio pattern with other associated instruments. When taking this approach into account the bongo's motif may also be scored in the same way, however the bongos do not seem to be isolated parts when listening to the composition as a whole, playing more of a thematic role in the textures it is scored in.
Three separate levels of the hearing register are used to create the effect of elaborations. The bass drums occupy the lower ranges of the register, while the wood blocks and castanets fill the middle range of the register. The introduction of the anvils in Texture I version II now becomes apparent. As it sits at the higher end of the frequency scale it needs to be an instrument with a short decay to enable it to be part of the elaborations (due to the gong and tam-tam being present in this texture). The only other metallic instrument used with these properties is the triangle; however the triangle is not an instrument with a high dynamic level. As the final four bars of this texture suggest a crescendo is taking place, this instrument may be considered too quiet for the task of elaborations. Therefore if this had been the first use of the anvils one would expect this to be a new individual texture, or as the case is in Texture I version II, a second version of a Texture I
The pattern here suggests that the final two beats of the bar are a very quick return to virtualization of scored notes. Judging by the way these were perceived in the Verticalization of textures, one would expect to hear the perception of a chord, however the quick playing produces a very fast crescendo in the timbre of a roll, moving through the hearing register until being met with a cymbal in the following texture. Looking at the score for the following texture (conclusion) shows that Varese has also chosen to use a quaver rest to prevent any clashes of frequency positions from the instruments used in the conclusion texture. This may have also been in consideration of the players, as it is very likely that they will not have played each note at the same time at such a quick pace.
Edgar Varese - Ionisation - Conclusion
First impressions:
A dramatic use of all instruments is in use, also a piano stands from the rest of the instrument although it plays as if someone was walking on it rather than actually playing it. Bells reminding one of Christmas/church setting are also heard above the other instruments. Any pattern or rhythm that had taken place is now gone, changing into a falling feeling not dissimilar to a coda. The siren is also used dominating the start of this texture.
Thematic instruments:
- Piano
- Tubular chimes
- Crash cymbal
Structual thought:
As the texture opens high in dynamic level, siren one is clearly heard. Reaching its dynamic peak as the second siren joins it, half way through the first scored part of this texture. This is then followed by the first introduction of the piano; Varese makes a special point of introducing a new technique here for the piano. The style of notation directs the player to use his/her forearm to play as many notes as possible, keeping within the scored range; in practice creating a technique that combines the many different tonal qualities into one colour/timbre. This has also required Varese to introduce a new graphic symbol to represent this action.
Another thematic piece of this texture is the tubular chimes. With having such a long decay these fit almost perfectly with the action of the piano, creating an individual feeling of falling, as well as a colouring of the register between itself and the piano. There are also similarities to Texture I and Texture II, a degree of juxtaposing of the two textures is felt as the texture starts. The gongs and tam-tams of Texture I are present, followed immediately by the snare (tambour militaire) playing an almost identical part to that of Texture II.
Throughout, all of the textures register positions has played a key part in positioning of notes, this is shown at is best as the piano and the cymbal play together, both are dominate sounding instruments but clearly the piano at bar seventy-six is acting as added reverberation that were created by the previous forearm strikes of the piano.
Graphic example:
Arrow discription:
What is most surprising about the snares is how they still seem to hold the most dominance over what is already high polyphonic section. What makes this stand out the most is how the snare actually succeeds in softening the fall of the other instruments in the final two bars.
Used only in the conclusion the piano acts as a key element to this texture, by using the technique of forearm playing, a high degree of the register positions are covered, at the same time a high amount of reverberation is created which is further complimented by the adding of more conventional piano parts, together these sustain the effect until the first tubular bells are played increasing this effect further.
The siren uses the same pattern as seen in Texture I, going some way further to seeing the Conclusion as not a single texture, but more a juxtaposing of Texture I & II with the Piano and Tubular bells being a possible progression that could be called Texture IV (three is clearly a mixture of Textures one and two). However as this is the last section of the piece it must be seen as a coda or a conclusion.
The gong and tam-tam hold patterns not to dissimilar to that of Texture I, while the snare plays a fragmented version of Texture II. The gong and tam-tam also play an important part in the decrease in dynamic level by being scored p & pp. The exception to this is in the eighty-ninth bar when all instruments of the high register bringing their dynamic level to a peak before being scored ppp and falling into a faded finale.
Although only short in their parts the blocks help create a sudden switch in pitch perception which is carried on by the bongs.
One of the most dominate parts to the texture creating a daunting sound to the finale while at the same time creating warm reverb with the piano.
